IC-NRLF 


SB 


CRI M I N ALS 

^4  one-act  play  about  marriage 

GEORGE  MIDDLETON 


CRIMINALS 


BT  THE  SAME  AUTHOR 
EMBERS 

AND  OTHER  ONE- ACT  PLAYS 

TRADITION 

AND  OTHER  ONE-ACT  PLAYS 

POSSESSION 

AND  OTHER  ONE-ACT  PLAYS 

NOWADAYS 

A  THREE-ACT  CONTEMPORANEOUS 
COMEDY 


CRIMINALS 

A  ONE-ACT  PLAY  ABOUT  MARRIAGE 
BY    GEORGE    MIDDLETON 


NEW  YORK 

B.  W.  HUEBSCH 

MCMXV 


COPYRIGHT  BY  GEORGE  MIDDLETON,  1914,  1915 

This  play  in  its  printed  form  is  designed  for  the  reading 
public  only.  All  dramatic  rights  in  it  are  fully  protected  by 
copyright,  and  no  performance — professional  or  amateur — or 
public  reading  may  be  given  without  the  written  permission 
of  the  author  and  the  payment  of  royalty.  Communication 
should  be  sent  to  the  author,  care  of  the  publisher,  225  Fifth 
avenue,  New  York  City. 


%o 


INTRODUCTION 

Truth  to  life  does  not  necessarily  imply 
truth  in  art.  [Though  all  human  nature  is 
material  for  the  author  and  there  is  no  im 
morality  in  art  save  insincerity  in  its  treat 
ment,  I  should  be  the  first  to  admit  the  dan 
ger  of  deducing  a  generality  from  an  isolated 
instance.  Therefore,  the»fact  that  this  play 
was  founded  on  an  actual  occurrence  would 
not  alone  have  prompted  my  using  so  inti 
mate  a  theme  of  life  in  the  art  form.  And 
since  the  dramatist  must  inevitably  select  the 
high  lights  so  that  he  may  suggest  the  larger 
problems  radiating  beyond  the  mere  episode, 
the  arrangement  of  events  in  "  Criminals  " 
may  seem  exceptional.  Nevertheless,  in 
spite  of  the  compression,  necessitated  by  the 
one-act  form,  the  human  reactions  in  this 
play  and  its  basic  situation  are  by  no  means 
so  uncommon  as  one  might  casually  assume. 

It  would  be  easy  for  the  incredulous  to 
deny  and  for  the  cynical  to  scoff  at  its  premise 
of  complete  virginal  ignorance;  but  that 


331048 


INTRODUCTION 


would  not  erase  the  records  of  medical 
literature.  Psychologists  and  neurologists, 
who  have  related  divorce  to  something  more 
than  legal  causes,  have  also  given  abundant 
testimony  to  the  part  which  initial  sex  ex 
perience  has  ultimately  played  in  the  wreck 
age  of  marriage.  And  I  have  myself  been 
greatly  surprised  at  the  large  number  of  col 
lateral  cases  which  have  been  brought  to  my 
attention  since  this  was  written  and  produced 
—  cases  of  women  whose  experiences  have, 
in  essence,  been  similar  to  Janet's,  though 
their  reactions  have  been  translated  into  a 
less  radical  course  of  conduct. 

I  have  not  sought  to  dramatize  a  particu 
lar  pathological  phenomenon:  I  have  written 
this  play  because  I  believe  it  intimates  the 
human  drama  which,  with  varying  degrees 
of  intensity,  may  lurk  in  this  phase  of  mar 
riage.  The  resolution  arrived  at  is  not  a 
playwright's  conclusion  intended  to  preach  a 
moral:  it  is  legitimately  achieved,  I  hope, 
through  the  shock  of  juxtaposed  characters 
finding  a  new  point  of  view  under  stress  of 
circumstance,  tragic  to  them. 

The  advantage  of  play  publication,  as  I 


INTRODUCTION 


have  indicated  in  my  other  volumes,  is  that 
the  dramatist  has  a  written  record  of  his  en 
deavor,  accessible  to  those  who  may  be  inter 
ested  in  his  work  where  wide  production,  for 
obvious  reasons,  is  denied  it. 

I  should  be  ungrateful  did  I  not  here  ex 
press  my  appreciation  to  Miss  Aline  Barns- 
dall,  for  her  courage  in  producing  this  play, 
as  well  as  my  thanks  to  the  little  company 
who  interpreted,  with  rare  tact  and  delicacy, 
the  very  difficult  roles  which  were  intrusted 
to  them. 

G.  M. 

September  tenth,  1915. 


CRIMINALS 


FIRST  PERFORMANCE 

at  the  Fine  Arts  Theatre,  Chicago, 

February  third,  1915, 

under  the  management  of 
The  Players  Producing  Company. 


THE  CAST 

ALFRED  YORK  .  .  .  .  FRED  PERMAINE 
ANN,  his  wife  .  .  FLORENCE  LE  CLERCQ 
JANET,  their  daughter  .  BERNICE  GOLDEN 
CARTER  MERWIN  .  .  FRANK  STIRLING 

SCENE:     The  York  home:  about  ten  o'clock, 
one  Spring  evening. 

Produced  by  the  Author. 


CRIMINALS 

A  cozy  sitting  room  on  the  second  floor  of 
a  small  house  is  disclosed,  as  the  curtain 
slowly  lifts.  It  is  conventional  in  furnish 
ing,  with  a  family  portrait  or  two  looking 
down  complacently  upon  the  methodically 
placed  chairs,  sofa  and  large  mahogany 
table.  The  two  windows  at  the  right  are 
draped  with  light  curtains  which  are  similar 
to  those  neatly  hung  across  the  opening  in 
back.  This  leads  to  the  hall-way  and  stairs 
Jyeyond.  At  the  left  is  a  door  opening  into 
JANET'S  room.  Except  for  the  telephone, 
with  a  switch  attachment,  which  rests  on  the 
table,  there  is  nothing  modern  in  the  room; 
all  the  details,  in  fact,  indicate  the  settled 
nature  of  the  occupants  who  have  apparently 
lived  there  for  many  years.  The  hall-way 
is  dark,  but  the  room  itself  is  softly  lighted 
by  the  tall  red-shaded  lamp  which  stands 
back  of  the  sofa.  The  moonlight,  too, 
faintly  trickles  in  at  the  windows. 

MR.  and  MRS,  YORK  are  alone.  The 
i 


CRIMINALS 


door  into  JANET'S  room  is  open  and  MRS. 
YORK  is  silently  gazing  at  it.  She  is  seated 
on  the  sofa  and  has  ceased  sewing.  He  is 
in  a  deep  chair,  by  the  table,  trying  to  read 
the  evening  paper.  But  he  cannot  seem  to 
concentrate  on  it;  he  looks  toward  his  wife 
now  and  then  as  though  both  were  dwelling 
on  the  same  thought. 

YORK,  in  his  late  forties,  is  a  rather  obvious 
kindly  man  with  a  quiet  voice  and  gentle  man 
ner.  <He  wears  a  frock  coat. 

MRS.  YORK,  somewhat  younger,  is  also  a 
lovable  personality  who  has  expended  all  her 
energies  within  the  concentrated  limits  of  her 
home  life.  She  still  wears  her  formal  gray 
afternoon  gown. 

They  are,  in  fact,  a  harmoniously  happy 
couple,  reticent  with  regard  to  their  inner 
feelings,  and  instinctively  submissive  to  cer 
tain  conventions  which,  until  now,  the  easy 
habit  of  life  has  never  made  them  question. 

MRS.  YORK 
[With  a  sigh] 

I  can't  help  thinking  we  shan't  see  Janet 
come  from  that  room  again. 


CRIMINALS 


YORK 

No. 

MRS.  YORK 

Now  she's  gone  we'll  leave  everything  in 
there  just  as  it  is. 

YORK 
Yes. 

MRS.  YORK 

[With  contented  recollection] 
She  was  so  happy  here. 

YORK 
She  had  a  good  mother. 

MRS.  YORK 
[Lovingly  eyeing  him} 
And  father,  Fred. 

YORK 
I'm  just  an  ordinary  sort  of  person. 

MRS.  YORK 

But  she  appreciated  all  that  you  did  for 
her. 


4  CRIMINALS 


YORK 

A  father  isn't  much  guidance  to  a  daugh 
ter.  It's  the  mother  who  counts  there. 

MRS.  YORK 

I  did  everything  I  could  to  bring  her  up 
properly.  [Sighing  again'}  But  times  have 
changed  since  /  was  a  girl.  One  has  to  be  so 
careful. 

YORK 

It's  the  mothers  who  have  changed  —  let 
ting  their  girls  go  about  just  as  if  they  were 
boys.  JThere  wouldn't  be  so  much  trouble, 
Ann,  if  all  mothers  were  companionable  like 
you. 

MRS.  YORK 

I  was  glad  I  could  devote  all  my  time  to 
Janet.  I  can  almost  be  happy  now  that  I'm 
alone  —  thinking  of  that. 

YORK 

It  was  the  greatest  joy  in  my  life  to  see 
you  two  so  inseparable.  Why,  Janet  hardly 
left  your  side,  did  she? 


CRIMINALS 


MRS.  YORK 

No.  When  I  was  with  her  I  always  felt 
as  though  I  were  walking  in  a  garden  of 
lilies. 

YORK 
Yes,  pure  white. 

MRS.  YORK 

I  often  wondered  why  she  liked  white  fur 
niture. 

YORK 
It  was  like  herself  somehow,  I  suppose. 

MRS.  YORK 
[She  goes  to  him] 

And  to-night  will  be  the  first  time  she's 
ever  been  away  from  me.  [Shuddering] 
To-night ! 

YORK 

There,  dear,  don't  worry. 

MRS.  YORK 

{With  instinctive  reserve  as  she  takes   his 
hand] 

You  know  what  I'm  thinking? 


CRIMINALS 


YORK 
Yes. 

MRS.  YORK 
I  hate  to  think  of  such  things. 

YORK 
[Trying  to  be  cheer  full 

Then  don't  let's  talk  of  them.  Carter  is 
her  husband  now. 

MRS.  YORK 

I  know.  It's  strange  how  girls  grow  up 
in  a  place  and  then  leave  when  the  first 
man  .  .  . 

YORK 
[With  consoling  assurance] 

He's  a  good  chap  and  early  marriages  are 
best. 

MRS.  YORK 

Yes.  And  she  seemed  so  sure  of  herself. 
[There  is  a  pause  as  she  thoughtfully  goes 
to  window  and  gazes  out]  What  time  is 
it? 

YORK 
Just  ten. 


CRIMINALS 


MRS.  YORK 

I'm  so  glad  they  told  us  where  they  were 
going. 

YORK 

But  didn't  you  feel  as  though  it  spoiled 
their  little  romance  for  us  to  know  ? 

MRS.  YORK 
[Smiling] 

Nothing  could  spoil  their  romance;  it  was 
like  a  story-book.  But  Janet  really  wanted 
us  to  go  down  to  the  boat  to-morrow  and  see 
her  off.  [Wist fully]  It  must  be  nice  to 
have  a  honeymoon  in  Italy. 

YORK 
[Trying  to  be  cheerful  throughout] 

Carter's  got  more  money  than  /  had  when 
you  and  I  were  married. 

MRS.  YORK 
[Affectionately'] 

But  they  won't  have  a  happier  time  over 
there  than  we  did  in  Washington,  will  they? 
[After  another  silence']  I  —  I  thought  per- 


8  CRIMINALS 

haps  she'd  'phone  us  to  let  us  know  she 
reached  the  hotel  safely. 

YORK 
[Playfully] 
We  didn't  think  of  'phoning. 

MRS.  YORK 

Mother  didn't  have  a  'phone  then.  [In 
recollection}  But  I  thought  of  her.  [They 
smile;  then  she  puts  her  arm  on  his  shoulder, 
as  she  stands  behind  his  chair']  Oh,  Fred, 
I  ... 

YORK 
[  Under  standingly] 

You  mustn't  feel  like  this  about  Janet, 
dear.  Everything  will  be  as  it  should  be  — 
just  as  it  was  between  us.  Carter's  a  fine 
fellow  and  .  .  . 

MRS.  YORK 
She's  only  a  little  girl. 

YORK 

So  were  you,  Ann,  when  I  took  you  away 
from  your  mother. 


CRIMINALS 


MRS.  YORK 

It's  foolish  of  me  I  know,  but  .  .  .  [As 
though  wishing  to  change  the  subject]  The 
room  and  hallway  are  full  of  fragrance. 

YORK 

Suppose  we  send  her  wedding  flowers  to 
the  hospital  to-morrow. 

MRS.  YORK 

You  are  always  so  thoughtful,  Fred.  I'll 
tell  Mary  in  the  morning. 

YORK 

Shall  we  go  down  and  look  at  them  again 
before  we  go  to  bed? 

MRS.  YORK 

Yes;  I'm  tired  though.  It's  been  such  a 
long  day.  [She  goes  to  him  tenderly  and 
puts  her  arms  on  his  shoulders  as  he  now 
stands  facing  her~\  Fred,  it  takes  me  back. 

YORK 
Some  twenty  years,  eh  ? 


io  CRIMINALS 

MRS.  YORK 
We  only  have  each  other  now. 

YORK 
Yes;  the  way  it  was  when  we  started. 

MRS.  YORK 

It  was  hard  for  me  to  see  my  little  girl  go. 
[She  kisses  him]  IVe  been  so  happy  here 
with  you  and  Janet  [The  telephone  rings. 
She  goes  to  it]  I  knew  she'd  'phone.  Let 
me  go,  Fred.  I  want  to  hear  her  voice. 
[Taking  off  the  receiver  eagerly]  Yes, 
hello!  Is  that  you,  Janet?  No?  .  .  . 
You  wish  to  speak  to  Mr.  York?  Is  that 
you,  Carter?  Yes;  he's  here.  [She  slowly 
hands  the  receiver  to  YORK  as  she  stands  half 
trembling  with  sudden  premonition]  Carter 
wants  to  speak  to  you.  [YORK  slowly  takes 
the  receiver]  Oh,  I'm  afraid. 

YORK 
[At  'phone] 

Yes,  Carter.  [Startled]  What's  that? 
Coming  back  here?  To-night?  [After  a 
'pause]  Yes,  of  course:  you'd  better  come 


CRIMINALS  ii 

around  yourself  right  away.  Wait.  The 
front  door  will  be  unlatched.  Come  right  up 
to  the  sitting  room.  [He  hangs  up  the  re 
ceiver  and  looks  at  MRS.  YORK,  who  is 
dumbly  questioning  him']  Janet's  on  her 
way  here. 

MRS.  YORK 
Here! 

YORK 

She  left  the  hotel  fifteen  minutes  ago  — 
alone. 

MRS.  YORK 
[Terrified] 

Alone? 

YORK 
She  has  her  own  key? 

MRS.  YORK 

Yes.     I   wanted   her   always   to   keep   it. 
But  you  told  Carter  to  come  also? 

YORK 
Yes.     Has  Mary  gone  upstairs  yet? 


12  CRIMINALS 

MRS.  YORK 

No !  [As  YORK  goes  to  telephone  and 
switches  it]  What  are  you  doing? 

YORK 
[Into  telephone'] 

Is  that  you,  Mary?  I've  just  had  a 
'phone.  We  are  expecting  somebody.  Put 
the  front  door  latch  back  so  he  can  come  right 
up  to  us.  No,  I  don't  want  to  keep  you  up : 
then  go  to  bed.  Understand?  Good-night. 

[He  hangs  up  the  receiver.  MRS. 
YORK  has  gazed  before  her  during 
this,  as  though  bewildered.  There  is 
a  long  pause  before  either  speaks: 
then  it  is  in  broken  tones,  full  of  an 
implication  that  is  hardly  phrased] 

MRS.  YORK 
Fred;  something  terrible's  happened. 

YORK 
There's  no  reason  to  think  that. 

MRS.  YORK 
The  tone  of  his  voice. 


CRIMINALS  13 


YORK 

Now    don't    give    way:    it's    all    right. 
[Slowly]     Perhaps  .  .  . 

MRS.  YORK 
[Shwly] 

Perhaps  what? 

YORK 
[Hesitating] 

Well,  sometimes  .  .  . 

MRS.  YORK 
But  Carter  must  have  known  she  .  .  . 

YORK 

[Half  to  himself] 
It  may  be  ... 

MRS.  YORK 
[Hysterical] 
Why  don't  you  say  what  you  think? 

YORK 

I  remember  men  telling  me  .  .  -?. 


14  CRIMINALS 

MRS.  YORK 
Do  men  ever  talk  of  such  things? 

YORK 

Yes:  afterwards.  [He  apparently  hears 
the  maid  going  upstairs.  He  goes  back  to 
be  sure,  then  turns  to  his  wife]  Mary  has 
gone  up  to  bed. 

MRS.  YORK 
Do  you  think  Janet  will  tell  us? 

YORK 
If  not,  why  is  she  coming  back  here? 

MRS.  YORK 

Where  else  could  she  go?  ...  Oh,  Fred, 
this  is  more  than  I  can  stand.  Suppose  — = 
suppose  she  doesn't  come? 

YORK 
Nonsense.     Shall  we  go  downstairs? 

MRS.  YORK 

No;  not  where  their  flowers  are.  [She 
tries  to  control  her  growing  agitation] 
Why  doesn't  she  come  ?  —  She  ought  to  be 


CRIMINALS 


here  by  now. —  Are  you  sure  Carter  said  she 
was  coming  here? 

YORK 
Maybe  she  walked. 

MRS.  YORK 
[Murmuring] 

Alone  in  the  street  this  time  of  night? 

YORK 
There's  no  danger. 

[  The  curtains  are  pushed  open  and 
JANET  enters.  She  goes  hysterically 
to  MRS.  YORK  and  buries  her  face  in 
her  mother's  lap,  sobbing.  YORK 
comes  over  beside  them,  anxiously. 

JANET  YORK,  about  nineteen,  is 
the  personification  of  sensitive  deli 
cacy  and  fragile  grace.  Her  present 
agitation  is  such  that,  when  words 
fail,  she  conveys  her  meaning  through 
groping,  broken  tones  and  suggestion. 
She  is  wearing  her  smart  "  going 
away  "  tailor-made  gown  and  hat] 


1 6  CRIMINALS 

JANET 
Mother !     Mother ! 

MRS.  YORK 
My  girl!     What  is  it? 

YORK 
Wait,  Ann. 

JANET 
Oh,  I  ...  I  ... 

MRS.  YORK 
Don't  cry  so. 

YORK 

[Patting  her  shoulder'] 
Janet,  dear! 

JANET 

[Looking  up  at  him~\ 
Father ! 

YORK 
Tell  us. 

JANET 

I'll  .      .  I'll  tell  mother. 


CRIMINALS  17 


MRS.  YORK 
[Looking  at  YORK] 
Leave  us  together,  Fred.     Maybe  she'll 

YORK 
You'd  better  tell  me,  too,  in  case  .  .  . 

MRS.  YORK 
Your  father's  right,  Janet. 

JANET 
I  ...  I  can't  tell  it. 

YORK 
But  your  mother's  frightened. 

JANET 
So  ...  so  ...  was  I  —  frightened. 

YORK 
But,  dear  .  .  .  ? 

JANET 

It  was  different  from  ...  I  didn't  know. 
.  .  Why  didn't  you  tell  me? 


1 8  CRIMINALS 

MRS.  YORK 
[Astonished] 
Tell  you? 

JANET 

Yes :  what  marriage  means.  .  .  .  He  said 
that  was  marriage. 

[MR.  and  MRS.  YORK  exchange  looks, 
slowly  realizing  the  situation] 

MRS.  YORK 
Didn't  your  heart  tell  you? 

JANET 

[Phrasing  her  feeling  with  great  difficulty 
throughout] 

Not  that  How  could  it?  My  heart 
couldn't  know  that?  It  stopped.  It  seemed 
to  snap.  It  felt  ashamed.  I'm  ashamed 
now. 

MRS.  YORK 
[Perplexed] 

But  all  the  time  when  Carter  was  with  you 
here,  didn't  you  —  didn't  your  heart  .  .  .? 


CRIMINALS  19 


JANET 

I  tell  you  I  never  knew  there  were  such 
things  in  the  world.  But  you  knew.  You 
both  knew!  [Reproachfully]  You  should 
have  told  me  and  then  I  wouldn't  have  .  .  . 
Oh,  why  didn't  you  tell  me? 

MRS.  YORK 
[Helplessly] 
Fred? 

YORK 
[At  a  loss] 

Don't  —  don't  be  harsh  at  your  mother, 
Janet. 

JANET 

[Looking  up] 
Then  why  'didn't  you  tell  me? 

MRS.  YORK 
How  could  your  father  .  .  .  ? 

JANET 
[Interrupting  abruptly] 

Why  not?  He  let  me  marry  Carter  when 
I  came  and  asked  him.  My  father  let  me  go 


20  CRIMINALS 

away  with  Carter.  And  you  both  knew; 
Carter  said  you  both  knew.  And  neither  of 
you  told  me. 

[YoRK  shakes  his  head  slowly  as  though 
overcome  by  it  all;  they  try,  however, 
to  console  JANET] 

MRS.  YORK 

Dear,  you- — you  mustn't  feel  like  this 
about  Carter. 

YORK 
[Tenderly} 
No  —  no. 

JANET 
I  can't  help  how  I  feel. 

YORK 
But,  Janet;  he's  your  husband. 

JANET 

Yes.  My  husband !  I  know  that.  But  I 
didn't  know  what  it  meant  having  a  husband. 
[Quickly]  Does  that  give  him  the  right  if 
I  ,  .? 


CRIMINALS  21 

YORK 
Yes,  Janet. 

JANET 

[More  deeply  hurt  at  the  thought] 
Then  if  neither  of  you  would  tell  me,  why 
didn't  he  tell  me  before  .  .  .  ? 

MRS.  YORK 
[Shocked] 

Why  people  don't  talk  of  such  things  be 
fore  they're  married,  dear. 

JANET 

They  don't? 

MRS.  YORK 
How  could  they  be  so  immodest? 

JANET 

Immodest?     Immodest  to  talk?*     Yet  he 
could  .  .  .?     Oh  .  .  .! 

YORK 

What    did    you    think    marriage    was, 
dear? 


22  CRIMINALS 

JANET 

[Simply] 

I  —  I  thought  it  was  just  being  together, 
like  you  and  father. 

MRS.  YORK 
[Involuntarily] 
But  your  father  and  I  ... 

JANET 

[Retreating  from  them  in  realization  and 
astonishment] 

You  and  father !     Oh  1 

MRS.  YORK 
Janet. 

YORK 
Janet! 

JANET 

Don't  touch  me,  father.  [She  moves 
quickly  away  from  him]  I  don't  want  any 
body  to  put  their  hands  on  me  again.  I  — 
I  have  to  think.  I  want  to  understand  what 
you  said. —  I  always  knew  there  was  some- 


CRIMINALS  23 


thing  I  didn't  understand.  .  .  .  [Incredu 
lously]  How  could  any  girl  grow  up  and 
not  .  .  .?  [Quickly  turning  to  her  mother] 
Mother,  did  you  know  what  —  what  .  .  .? 
Did  you  know  this)  when  you  and  Father 
first  .  .  .? 

MRS.  YORK 
[Hardly  able  to  speak] 
No! 

JANET 
[Incredulously] 

You  didn't  know  either,  when  you  were 
married? 

MRS.  YORK 
[Emphatically] 
A  good  girl  shouldn't. 

JANET 

[Vehemently] 

A  good  girl!     Then  I  wish  I  weren't  a 
good  girl ! 

YORK 
Janet ! 


24  CRIMINALS 

JANET 
[Persistently'] 

Mother.     Didn't  you  even  feel  for  father 
as  I  did  to-night  when  Carter  .  .  .  ? 

MRS.  YORK 
[Horrified  throughout] 
No.     No.     I  loved  your  father. 

YORK 
And  don't  you  love  Carter? 

JANET 

[Incredulously] 
Is  that  love  ? 

MRS.  YORK 
It's  part  of  love. 

JANET 

[Irrespectively] 
Then  —  don't  I  love  Carter? 

YORK 

[Trying  to  quiet  her~\ 
Of  course,  you  do. 


CRIMINALS  25 

JANET 

[Speaking  as  though  overcome  with  a  new 
revelation] 

I  don't.  I  don't.  How  could  I  love  him 
if  I  couldn't  let  —  ?  Oh !  —  If  you,  mother, 
loved  father  and  .  .  .  and  yet  /  couldn't  .  .  . 

YORK 

Janet,  you're  all  nerves.  Are  you  differ 
ent  from  other  girls? 

JANET 

[Gazing  before  her] 

I  don't  know.  I  can't  understand  my 
self — [Impulsively']  Mother,  mother;  I 
hated  him  1 

MRS.  YORK 
Janet! 

JANET 
[Shuddering  in  recollection} 

Yes  —  yes.  His  face  changed  .  .  .  his 
eyes  ...  oh !  ...  And  then  he  —  he  was 
sorry.  There  were  tears  in  his  eyes.  But 
I  was  frightened  and  ...  oh,  I  thought  I 
belonged  to  myself. 


26  CRIMINALS 

YORK 
[Kindly] 

You  belong  to  Carter,  and  he's  coming 
here  for  you. 

JANET 
[Startled] 
Coming  here? 

MRS.  YORK 
Yes.     He  'phoned. 

JANET 
I  thought  I  was  safe  here  in  my  home. 

YORK 

Your  home  is  with  him  now.  You're  his 
wife,  Janet.  And  you  promised  him  .  .  . 

JANET 

[Indignantly] 

How  could  I  promise  something  I  didn't 
know  about?  But  you  knew  what  I  was 
promising  and  you  didn't  tell  me.  You 
didn't  tell  me!  How  could  you  do  such  a 
thing?  It  was  a  crime! 


CRIMINALS  27 


MRS.  YORK 
[Deeply  wounded} 
A  crime  ? 

YORK 
Janet,  you're  talking  to  your  mother. 

JANET 

My  mother;  yes;  my  dear  little  mother 
whom  I  trusted  so. 

MRS.  YORK 

You're  breaking  my  heart.  I  did  every 
thing  in  the  world  for  you. 

JANET 
[With  great  reproach} 

Except  tell  me  the  one  thing  I  should  have 
known ! 

MRS.  YORK 
Janet! 

JANET 

And  now  I  understand  the  strange  look 
you  gave  me,  mother,  when  you  said  good- 
by.  You  knew  you  should  have  told  me. 


28  CRIMINALS 

[MRS.  YORK  lowers  her  head. 
The  outer  door  down-stairs  is  heard 
opening  and  then  closing] 

YORK 
There's  Carter. 

JANET 

I  won't  see  him  now. 

YORK 
Now,  Janet:  don't  be  a  foolish  girl. 

JANET 

\With  a  certain  calm} 
I'm  going  to  my  own  room. 

YORK 
You  must  listen  to  reason. 

JANET 
I  don't  know  what  you  mean  by  reason. 

YORK 

[Taking  hold  of  her  arms'] 
Janet,  was  he  .  .  .  ? 


CRIMINALS  29 


JANET 
Let  me  go,  father. 

YORK 
[Forcefully] 

Answer  me.  Was  Carter  unkind  or 
bru  .  .  .? 

JANET 

How  should  I  know?  He  tried  to  kiss 
me  —  differently.  And  he  didn't  tell  me  be 
fore  ...  I  won't  see  him.  I  won't.  I 
won't. 

MRS.  YORK 
Janet !     Janet ! 

[JANET  goes  into  her  room  slam 
ming  the  door.  MRS.  YORK  holds 
her  hands  out  after  her.  YORK 
seems  thoroughly  aroused  to  anger] 

MRS.  YORK 

[Turning  helplessly  to  her  husband] 
You  don't  think  it  was  because  .      .  ? 


30  CRIMINALS 

YORK 
[Determined] 

That's  what  I  mean  to  find  out.     Go  to 
her. 

MRS.  YORK 
And  she  called  me  a  criminal ! 

[MRS.  YORK  almost  timidly  goes 
into  the  room,  closing  the  door. 
CARTER  £5  heard  coming  up  the 
stairs.  YORK  turns  and  waits  with 
suppressed  excitement. 

After  a  moment  CARTER  MER- 
iWlN  enters.  There  is  a  look  of  anx 
iety  upon  his  strongly  modeled  face. 
In  appearance  he  is  immediately  in- 
'gratiating  since  his  whole  manner 
suggests  great  sincerity  of  character. 
He  is  in  his  early  thirties. 

He  stands  there  looking  at  YORK 
and  throughout  the  following  seems 
deeply  moved  with  pity  for  JANET. 
They  speak  with  subdued  intensity, 
never  raising  their  voice  for  fear  the 
others  will  hear~\ 


CRIMINALS  31 


CARTER 
Janet's  here? 

YORK 
Yes.     With  her  mother. 

CARTER 
[Relieved] 

I'm    glad.     [He    starts    towards    door] 
Poor  little  girl. 

YORK 
[Stopping  him} 

Where  are  you  going? 

CARTER 
To  tell  her  not  to  worry. 

YORK 
You  can't  see  her  now. 

CARTER 
Why  do  you  stop  me? 

YORK 
She's  my  daughter  and  — 


32  CRIMINALS 

CARTER 
[Quietly] 
My  wife. 

YORK 

[Halted  somewhat  by  his  tone} 
What  kind  of  a  man  are  you? 

CARTER 
What  do  you  mean  ? 

YORK 
You  Know  what  I  mean. 

CARTER 
I  don't  understand. 

YORK 
She's  come  here  seeking  my  protection. 

CARTER 

Protection?     Her     greatest     protection 
would  have  been  a  little  knowledge. 

YORK 
[Controlling  himself  with  'difficulty'] 

We  kept  for  you  a  girl's  greatest  gift  to 
her  husband:  her  innocence. 


CRIMINALS  33 


CARTER 
She  brought  me  only  ignorance. 

YORK 
I  tell  you,  you  shan't  go  to  her  now. 

CARTER 

But  she  must  see  how  I  care  for  her. 
She  mustn't  think  I  don't  understand.  She 
must  let  me  help  her  —  be  kind  to  her. 
You  don't  think  I  have  come  to  take  her  away 
unwillingly  ? 

YORK 
Then  why  are  you  here? 

CARTER 
Because  I  don't  want  her  to  be  afraid. 

YORK 
Damn  you ! 

CARTER 
Mr.  York! 

YORK 
Why  did  you  frighten  her  ? 


34  CRIMINALS 

CARTER 
/  didn't  frighten  her. 

YORK 
What  did? 

CARTER 
A  fact.     The  commonest  fact  in  life. 

YORK 

Which  a  man  who  knows  life  should  have 
learned  how  to  tell  a  ... 

CARTER 

Most    men    don't    have    to    tell    women. 
Twice  you've  insinuated  .  .  . 

YORK 
She  left  you;  didn't  she? 

CARTER 

Yes.     She  said  nothing.     She  cried  and 
she  struck  me. 

YORK 

[Astonished"} 
Struck  you? 


CRIMINALS  35 


CARTER, 
Yes. 

YORK 

[Coming  closer  to  him] 
Then  you  did  give  her  cause  ? 

CARTER 
I  came  to  her  with  a  man's  love. 

YORK 
And  acted  like  a  — 

CARTER 
Say  it. 

YORK 
Like  a  brute! 

CARTER 

[He  rushes  at  him,  clutching  his  arms,  but 
trying  to  control  himself] 

Mr.  York!     I  love  her.     Do  you  hear? 
I  love  her. 

YORK 
But  forgot  what  kind  of  a  girl  she  was. 


36  CRIMINALS 

CARTER 

[Hardly  believing'} 
What  are  you  saying? 

YORK 
Isn't  it  the  truth? 

CARTER 
[Still  holding  him  and  speaking  tensely] 

Do  you  think  because  the  language  men 
have  to  use  is  the  same  to  all  women,  that 
the  feeling  back  of  it  can't  be  different? 
Don't  you  know  I  felt  differently?  I  tell 
you  I  love  her.  No,  no,  it  wasn't  as  you 
think.  I  was  kind.  I  understood  she  had 
never  ...  I  understood.  But  I  thought 
she  knew  what  marriage  was;  thought  she 
was  happy  coming  to  me;  thought  she  was 
willingly  coming  to  me.  But  she  made  me 
feel  as  though  I  weren't  her  husband.  I  was 
only  a  thief  in  her  room.  Not  the  man  she 
loved;  but  a  criminal! 

YORK 

[Staring  at  him'} 
A  criminal!     You,  too! 


CRIMINALS  37 

CARTER 

Yes.  And  don't  you  feel  like  a  criminal? 
Didn't  you  give  her  to  me? 

YORK 

\_With  indignant  sarcasm] 
I  thought  I  gave  her  to  a  man  of  honor. 

CARTER 

Yet  you  never  asked  me  one  question.  I 
never  thought  of  it  myself  rill  she  struck  me. 
Then  the  crime  we  had  done  her  stunned 
me  —  before  I  could  talk  to  her.  I  didn't 
blame  her.  I  blamed  myself  and  you:  for 
you  gave  her  to  me,  as  the  service  says;  but 
you  didn't  tell  her  a  single  thing  about  what 
was  to  happen.  And  I  took  her  from  your 
hands  —  I  who  had  talked  of  everything  our 
life  was  to  hold  together  —  everything  but 
that. 

YORK 

Carter! 

CARTER 

We've  made  the  fact  of  marriage  seem 
horrible.  Oh,  I'm  ashamed  to  my  soul  of 
my  part  in  this  crime. 


38  CRIMINALS 

YORK 
How  dare  you  speak  like  this ! 

CARTER 

But  isn't  it  the  truth?  Did  you  or  I  do 
anything  to  make  her  see  the  beauty  of  this? 
Did  you  or  I  tell  her  the  simplest  fact?  Did 
you  or  I  do  anything  else  to  protect  her? 

YORK 
Do  you  realize  — 

CARTER 

Oh,  if  you'd  seen  the  look  in  her  eyes  — 
the  helpless  shocked  expression.  Instead  of 
the  man's  pure  love  /  brought  her,  she  might 
have  had  to  face  anything,  anything.  Think 
of  it:  anything!  Good  God!  It's  terrible. 
She  was  helpless  and  she  knew  nothing  — 
nothing.  \Gomg  to  him~\  But  you  and  I 
knew:  you  knew  life,  knew  men.  Yet 
neither  you  nor  the  minister  ever  asked  me 
one  question.  You  never  asked  me  what 
was  also  her  right  to  know  before  she  came 
to  me.  You  never  asked  me  what  my  life 
had  been  or  whether  I  was  fit  to  be  her  hus 
band.  [YORK  tries  to  protest']  Oh,  you 


CRIMINALS 39 

must  listen  to  me;  for  you  stand  there  judg 
ing  me  and  forgetting  what  you,  her  father, 
had  done  to  her.  I'm  ashamed  of  myself 
and  so  should  you  be.  You  asked  me  about 
my  bank-account  but  you  never  asked  me 
about  my  body. 

YORK 

[Fundamentally  of  ended'] 
Do  you  think  I  would  have  insulted  you 
with  such  a  question? 

CARTER 

But  you  were  willing  to  take  a  chance  on 
your  daughter. 

YORK 

No  man  who  wasn't  decent  would  have 
married  a  sweet  pure  girl  like  Janet. 

CARTER 
Wouldn't  he  ?     I  know  hundreds ! ! 

[As  they  stand  there  tense,  fac 
ing  each  other,  the  door  opens;  they 
turn  toward  it.  There  is  a  pause  and 
MRS.  YORK,  almost  a  changed 
woman,  slowly  comes  into  the  room. 


40  CRIMINALS 


She  closes  the  door.  No  word  is 
spoken.  CARTER  stands  there  look 
ing  at  her  in  question.  Her  eyes  are 
on  the  ground.  YORK  moves  as  one 
dazed  to  the  deep  chair  and  later 
sinks  into  it,  staring  fixedly  before 
him~\ 

CARTER 
[Fery  quietly] 
She  knows  I  am  here? 

MRS.  YORK 
Yes. 

CARTER 
She'll  see  me? 

MRS.  YORK 
She  sent  me  away. 

CARTER 

[Understanding] 
She  wants  to  be  alone. 

MRS.  YORK 
Yes. 


CRIMINALS  41 


CARTER 

[After  some  hesitation  he  goes  slowly  to 
JANET'S  door  and  knocks,  speaking  with 
ill-controlled  emotion'] 

Janet!  Janet!  It's  Carter.  I  shan't  see 
you  till  you  wish  me.  But  don't  be  afraid, 
little  girl.  Don't  be  afraid  any  more. 
We'll  go  away  together  and  everything  will 
be  as  you  wish,  everything  as  you  wish  — 

[He  waits  but  there  is  no  answer. 
He  sits  upon  the  sofa  unable  to 
speak] 

MRS.  YORK 

[She  crosses  to  him,  placing  her  hand  on  his 
shoulder] 

Don't,  Carter. 

CARTER 

[With  deep  conviction] 
It  can  never  be  the  same. 

MRS.  YORK 
In  time. 


42  CRIMINALS 

CARTER 

No.  She'll  never  forget  the  shock  —  that 
first  shock. 

MRS.  YORK 
Women  do. 

CARTER 
How  could  they? 

MRS.  YORK 

She  loves  you.  She  broke  down  and  cried. 
She  sees  now  it  wasn't  your  fault. 

CARTER 
But  it  was. 

MRS.  YORK 

[As  she  sits  down  slowly  on  the  sofa  beside 
him\ 

I  never  knew  there  could  be  girls  like 
Janet. 

CARTER 

She  must  see  there  are  other  things  in 
marriage  than  this.  She  must.  [He  knocks 
at  the  door  again]  Janet!  Janet!  Let 
me  be  your  friend!  I'll  protect  you.  It's 


43 


my  right  now.  I  love  you,  little  girl.  I'll 
wait  till  —  [But  there  is  no  answer.  He 
sits  down  again,  murmuring]  It  could  all 
have  been  spared  if  one  of  us  had  had  a  little 
courage. 

MRS.  YORK 
[Staring  before  her] 
Yes;  it  takes  courage. 

CARTER 
Why  should  it? 

MRS.  YORK 
She  knows  now. 

CARTER 
And  it  all  could  have  been  so  simple. 

YORK 

[Still  staring  guiltily  before  him] 
Criminals  ! 

[MRS.  YORK  looks  slowly  at  him, 
but  CARTER'S  eyes  lift  to  the  door, 
hoping  it  will  open  again.  There  is 
a  long  silence.  Then  the  curtain 
slowly  closes  them  from  view] 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 


AN     INITIAL     FINE     OF    25     CENTS 

WILL  BE  ASSESSED  FOR  FAILURE  TO  RETURN 
THIS  BOOK  ON  THE  DATE  DUE.  THE  PENALTY 
WILL  INCREASE  TO  5O  CENTS  ON  THE  FOURTH 
DAY  AND  TO  $1.OO  ON  THE  SEVENTH  DAY 
OVERDUE. 


24 


NOV  211937 
JAN  10  1947 

JULUW8 

AUTOMSG4107I88 


LD  21-50m-8,-32 


YB  3I9C4 

/ 

BERKELEY  LIBRARIES 


coosstani" 


331048 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


